Slaughterhouse-One: Shanghai 1933

Posted on by funambulator@live.com
Built Environment, Heritage & Conservation, Old technology, Regional History

About one kilometre north of Shanghai’s famous riverside Bund, at No. 10 Shajing Road, Hongkou District, is a most unusual building. Grey, monolithic and coldly forbidding in countenance, it is known today as Shanghai 1933 (上海1933老场坊) or “Old Millfun”…here in Shanghai’s former “International Settlement” is what was once “Slaughterhouse No. 1”, the Far East’s largest slaughterhouse.

(Source: Flickr)

The 31,700 sq m circular roof landmark building has been described as an “eerie Gotham-Deco achievement in concrete, glass and steel” (Atlas Obscura). In 2021 it is home to a fashionable collection of boutique shops, offices, restaurants and cafes, and an event venue, though for some wary locals the reputation of its past convinces them it is haunted by bad spirits (‘1933: The Slaughterhouse of Shanghai’, Monica Luau, Culture Trip, 05-Dec-2017, www.theculturetrip.com).

Architecture
The slaughterhouse was designed in the Art Deco style with Beaux-Arts and Bauhaus influences. This was a marked departure from hitherto abattoir designs which had studiously avoided any suggestion of decoration or aesthetics (‘From slaughter to laughter: the renovation of a slaughterhouse in Shanghai by IPPR’, Austin Williams, Architectural Review, 22-Oct-2018, www.architectural-review.com; ‘A Brief History of Shanghai’s Old Slaughterhouse 1933’, Emily Wetzki, that’s Shanghai, 03-Jul-2014, www.thatsmag.com). The primary building material used was poured concrete (Portland cement) imported from Britain.

🔺 “The gigantic parasol” (Photo credit: Architectural Review)

The unorthodox basic form of the Shanghai Slaughterhouse comprises an outer four-storey high square building enclosing a round inner building—with a 24-sided dome roof—the core of which is a central atrium into which light is admitted. The facade consists of iconic lattice windows with circular motifs. The stylised geometry of the lattice windows allows for much-needed ventilation and natural cooling (Williams)

🔺 A multiplicity of interlocking staircases & ramps (Source: Shanghai Art Deco)

The congested and convoluted interior presents a seemingly Byzantine confusion of elements obscuring what was in fact a revolutionary abattoir design. The interior was an Escheresque¶ maze of compartments, winding passages and corridors, scattered rooms, narrow spiral interlocking staircases, bridged walkways (26 sky bridges), twisting ramps, 50cm-thick walls, (300) Gothic columns and (four) verandahs (‘Shanghai’s charmed revealed’, Mu Qian, China Daily, 27-Oct-2011, www.chinadaily.com.cn; Williams).

🔺 Labyrinthine work of MC Escher

The “state-of-the-art” (for its day) slaughterhouse had many advanced features: the latticework exterior circulated air and, along with the extra thick walls, made the building cooler in Shanghai’s summers; safety measures were incorporated into the design – textured floors in the ramp made them slip-proof, and built-in escape niches for workers to jump into in the event of a cattle stampede (‘1933 Shanghai Slaughterhouse’, Hidden Architecture, www.hiddenarchitecture.net).

The abattoir’s design controlled the speed and flow of cattle from one area to the next. The unique multi-storey slaughterhouse made for a rational and hygienic method of working – situating the killing spaces on the highest level “allowed gravity to drain the blood, to lower the carcasses, to drop the waste, collect the hide” below. Such efficiency allowed for more than 1,200 heads of cattle, sheep and pigs to be processed in a single day (producing 130 tons of meat for human consumption) (Williams).

(Photo: Flickr)

Building history
The slaughterhouse continued to function until the 1960s, although between 1937 and 1945 it fell under the control of the occupying Japanese military. After the communist takeover of China in 1949 it officially became “Slaughterhouse # 1”. After the abattoir was closed, the building was converted into a cold storage facility and then a medicine factory.

(Source: Randomwire)

Reborn as a “creative industry zone” Abandoned in 2002, the Old Millfun building was heading for decay and destruction when it was saved in 2008 by a RMB100 million renovation [Architect: IPPR (Shanghai) – Engineering and Design Research Institute] and eventually transformation into a trendy entertainment❂ and shopping hub (Mu).

Architect: Balfours Master Architects (UK). Some sources attribute the building design to CH Stableford, Shanghai Municipal Council architect at the time (construction by Yu Hong Ki Construction Co).

________________________

✥ China before 1933 used the unit of weight, the tael applied to silver, as the unit of currency. A tael was usually equivalent to 1.3 ounces of silver

¶ bringing to mind the intricate, implausibly dense lithographic prints and drawings of Dutch graphic artist MC Escher

❂ among its upmarket tenants is the Ferrari Owners’ Club of China

Prohibition and Ice Cream: From Breweries to Creameries

Posted on by E Curb Nottus
Leisure activities, Popular Culture, Regional History

Say the word ‘Prohibition’ and people think of those years in the early 20th century when America went dry with a blanket ban on hard liquor consumption, but much less well known is its connexion to that most popular of frozen desserts, ice cream.

(Source: Flickr)

The Volstead Act in 1920 outlawed the manufacture and sale of alcohol in the United States. The 18th Amendment to the Constitution invalidated the licences of brewers, distillers, vintners and sellers of alcoholic beverages✴. The anti-alcohol legislation had its roots in the formation of the Anti-Saloon League (1893) supported by et al the Woman’s Christian Temperance Union, sharing its alarm at the growing prevalence of hard drinking and the development of a culture of drink. These like-minded groups coalesced into a national movement which successfully lobbied Washington for the desired reform (‘Why Prohibition?’, Temperance & Prohibition, Ohio State University, www.ose.edu)❂.

(Source: Flickr)

Nature (and business opportunism) abhors a vacuum
Into the void left by plummeting alcohol consumption (in the early 1920s consumption of beverage alcohol was around 30% of the pre-prohibition level (‘Why Prohibition?’), came ice-cream, marketed partially as a “comfort food” for those committed drinkers bereft of the booze. The advent of Prohibition was thus a boost to the ice cream business. Americans didn’t simply stop drinking beer, wine and spirits and take up iced confectioneries…over the nine years from 1916 ice cream consumption increased 55%, against a population increase of only 15% (‘Thanks, Prohibition! How the Eighteenth Amendment Furled America’s Taste For Ice Creams’, Rachel Van Bokkem, AHA Perspectives on History, 08-Aug-2016, www.historians.org).

(Image: Omaha World Herald, CooksInfo Food Encyclopedia)

Even before Prohibition the ice cream business surge started, due to improvements in technology which boosted ice cream’s popularity. Improved methods led to mass production of ice cream; improved refrigeration preserved the product better. Other recent innovations in the industry enhanced ice cream’s appeal to the public, eg, the development of single-serve products (the chocolate ice cream bar, the Popsicle, the Dixie Cup), notably the Eskimo Pie (marketed initially as the “I-Scream-Bar”) by Christian Nelson; Harry Burt’s “Good Humor Bar” which added a wooden stick to the frozen confectionery…a further advance by Burt was the introduction of a mobile service (trucks with freezers bringing the bars to the neighbourhoods) (Van Bokkem). Another factor was the spike in the number of soda fountains in American drugstores (the New York Times estimated that there were over 100,000 soda fountains in 1922, generating $1B in sales (‘Why Ice Cream Soared in Population During Prohibition’, Farrell Evans,
History, 28-Jan-2021, www.history.com).

Coors Porcelain Co (Source: coortek.com)

Breweries’ strategies responding to Prohibition
When the bans were enforced, the bulk of breweries went to the wall. Research by Maureen Ogle indicates that of the 71,300 American brewers in 1915, no more than 100 survived Prohibition (Ambitious Brew: The Story of American Beer, 2007). The big names in US brewing stood more chance of surviving, but only by diversifying. This they did by branching into the manufacture of everything from ceramics (Coors) to dyes to farm equipment to police vans. Beer giants Anheuser-Busch and Yuengling followed the trend into ice cream production (as did Stroh Brewing), contributing to the estimated 40% growth in consumption in the 1920s (Evans). Pabst Brewing went into making cheese (“Pabst-ett” spread), which was sold to Kraft after Prohibition ended. A number of the brewers made the logical switch to soft drinks, malted milk and malt syrup. Busch also produced frozen eggs, infant formula, carbonated coffee and tea (‘How America’s Iconic Brewers Survived Prohibition’, Christopher Klein, History, 16-Jan-2019, www.history.com).

The alcohol drought prompted the big brewers to fall back on their substantial real estate property holdings to stay afloat and generate ongoing income. Miller resorted to selling off its chain of saloons when things got tight. Some enterprising ice cream parlours bought the disused equipment and facilities of liquor businesses (Van Bokkem).

Ice cream mania…a health food?
US newspapers got in on the public’s ice cream craze, ascribing purported but unspecified health benefits to be had from eating the product. Some dietitians also sought to give the frozen confectionery validity with claims that ice cream was one of the best foods for children’s physical development (Van Bokkem). The Anti-Saloon League added its endorsement to the dairy industry’s marketing campaign for its sweet frozen cream and milk treat, declaring it a “refreshing and palatable food” (Evans).

At its peak during Prohibition New Yorkers were consuming 300 million gallons of ice cream a year by themselves. Among those businesses seeking to cash in, a number of confectionery and butter factories starting manufacturing ice cream as a by-product (Van Bokkem).

Cotton Club, NYC’s premier speakeasy

Speakeasies, drugstores and “Near beer”
For the aficionado or the hardened drinker there were ways, illegal and legal, to get round Prohibition’s national ban on liquor. With the ingredients still obtainable for backyard stills moonshiners and bootleggers benefitted from an upsurge in demand for the home-brewed stuff. As formerly legal saloons were closed down in 1920, the void was filled by the mushrooming of ‘speakeasies’ (unlicensed bar rooms) selling ‘hooch’. These operations were commonly run by city gangsters, organised crime ‘luminaries’ such as Al Capone and his lucrative Chicago racket.

Brewers like Pabst, Busch and Miller were able to exploit a small window of opportunity—beverages containing less than 0.5% alcohol were legal—to produce a concoction described as “near beer” (Miller’s equivalent brand was called ‘Vivo’). Busch manufactured a non-alcoholic malt cereal beverage, ‘Bevo’, which apparently tasted much like actual beer. Genuinely serious drinkers ultimately rejected “near beer”, opting for real beer which could be procured from Speakeasies and bootleggers (Klein).

(Source. vinepair.com)

Another, legal avenue for sourcing alcohol were drugstores. Licensed druggists were allowed to sell liquor for “medicinal purposes” – or to clergymen for “religious reasons”, eg, “Kosher Wine” was available to rabbis for “sacramental purposes” (‘Speakeasies Were Prohibition’s Worst-Kept Secrets’, Prohibition, www.prohibitionthemob.org).

In 1933 Prohibition was repealed and brewers and drinkers went back to doing what came naturally, although the taste for ice cream was by then “permanently engrained in US culture” (Van Bokkem). As it remains today with Americans, who per capita consume 20.8 litres of ice cream a year, second only to sweet-toothed New Zealanders.

(Photo: US Naval Institute)

End-note: The Navy jettisons liquor
The US Navy was the first arm of the government to move against the “demon drink”, banning alcohol from its ships and ports in 1914 (Secretary for the Navy Josephus Daniels was a fervent supporter of the Temperance Movement). Later on the Navy replaced it with ice cream – building two floating ice cream factories on concrete barges during WWII (‘How Ice Cream Became America’s Native Treat Because of Prohibition’, Cleveland Whiskey, 16-Jan-2019, www.clevelandwhiskey.com).

_________________________________
✴ Prohibition legislation did not ban the consumption of alcohol, just its production and distribution. Nor were the ingredients for making beer prohibited
❂ there were prior American moves, initiated by Temperance activists, to outlaw alcohol at state-level, the earliest to succeed was in Maine (1846)

A Divided Cyprus: Sixty Years and No Resolution on the Horizon, Part I

Posted on by Sloane Snodgrasse
Comparative politics, International Relations, National politics, Political geography, Politics, Regional History
Image: www.aljezeera.com

Last month in Geneva the UN brokered an informal 5+1 meeting between the representatives of the Greek and Turkish communities of Cyprus in yet another fruitless attempt to find a resolution to the island’s “Intractable, identity-based conflict (RJ Fisher, Journal of Peace Research 2001). Also in attendance were the foreign ministers from Cyprus’s three guarantor powers, Greece, Turkey and Britain. For ordinary citizens of the country and foreign observers alike, this amounted to a “Groundhog Day” experience. The disputing parties came (with their own agendas), they talked (at each other) while remaining firmly anchored to their core list of non-negotiables. The disputants returned to their bunkers.

No compromise, no progress…the stalemate and the status quo continues. Even the usually “glass half-full” UN head is not sanguine about future  prospects…UN secretary-general Guterres emerged from the three-day summit with a ‘realistic’ rather than a hopeful sense of the situation, stating that there was “not enough common ground to resume negotiations” and that new talks were months away (‘Cyprus settlement talks found little common ground: UN chief’, Aljazeera, 29-Apr-2021, www.aljazeera.com).

Photo: www.greekcitytimes.com

The rationales
Both sides restated their entrenched positions…the Greek Cypriots and Greece wouldn’t budge from their Greek Cypriot-majority bi-zonal federation model as the precondition to reunification, a formula ensuring the Greek community would still be dominant in the Federation. Turkish Cypriot leader Ersin Tatar insisted that to go forward the standing UN resolutions that sanction this approach should be sidestepped in favour of the alternate Turkish Cypriot proposal for a two-state solution, a formula backed by the  Turkish government in Ankara and its controversial president Recep Erdogan.

The British connexion and the Cyprus Emergency
The self-interest of Greece and Turkey is transparent, but some may wonder why the UK was one of the participating players in the Cyprus stalemate talks. The British nexus has its genesis in 1878 when expansionist Britain took advantage of the ailing Ottoman Empire to establish a protectorate over Cyprus and add the Eastern Aegean island to its imperial possessions⌖.

EOKA Emergency (Photo: www.iwm.org.uk)

Lead up to the 1960 compromise and beyond
Fast forward to 1955, overseas colonies around the globe were increasingly asserting a postwar yearning for independence from their European masters. Anyone familiar with Britain’s colonial policy in the 20th century (eg, Balfour Declaration on Palestine, Aden, British Raj in India, etc), will be aware of its track record on disengagement with its colonies is far from spotless. The Cyprus situation in the years 1955-60 continued this pattern. British policy towards the colony was shortsighted and misguided. By rigidly denying the Greek and Turkish Cypriots a right to self-determination in an increasingly heavy-handed way, the colonial power inadvertently fostered Greek and Turkish Cypriot nationalist sentiments¤. The struggle of Greek Cypriots to free themselves of British rule was taken up by a guerrilla group called Ethniki Organised Kyprion Agoniston (EOKA). EOKA’s aims were not for independence but for union (Enosis) with Greece. Turkish Cypriots on the other hand, perceiving that the 1960 power share perpetuated  their inferior place in the republic developed the idea of Taksim (‘partition’) in opposition to the Greeks’ Enosis✪. EOKA’s campaign of violence targetted the police (Greek and Turkish Cypriot as well as British) and basically anyone who opposed Enosis. Britain’s tactless use of Turkish police to quell the revolt of Greek Cypriots further inflamed and created new ethnic divisions and hostilities between the communities.

Archbishop Makarios III (Photo: www.pastdaily.com)

Although the British military eventually reined in most of the EOKA activists, the island’s slid towards war prompted Britain and the US to bring some kind of resolution to the conflict. Talks in 1959 led to the establishment of a republic in 1960 with a shared power arrangement—Greek Cypriot president, Turkish Cypriot vice president, etc—leadership of the republic thus fell to Archbishop Makarios (“Cyprus: Why One of the World’s Most Intractable Conflicts Continues’, Sewell Chan, New York Times, 07-Nov-2016, www.nytimes.com).

EOKA guerrillas including leader General Grivas

Cold War considerations
Geostrategic considerations of the Cold War played a part in both Britain’s and the US’ involvement in the Cyprus imbroglio. Cyprus was non-aligned and the western powers were fearful that the USSR could take advantage of the island”s instability with a view to establishing  a base there, giving it a much sought-after influence in the Eastern Mediterranean. The activism and appeal of AKEL, the Cyprus communist party, augmented those fears (‘The Soviet Union, Turkey and the Cyprus Problem, 1967-1974’, John Sakkas & Nataliya Zhukova, Les Cahiers Rice, 2013/1 (n°10), www.cairn.info). Washington’s later support for the Greek colonels’ dictatorship as a buffer against communism proved disastrous for Cyprus’s long-term stability.

Cyprus in crisis
Trouble in the bi-communal unitary state surfaced in 1963 when Makarios proposed constitutional changes to limit Turkish Cypriot political influence. A civil war broke out between the two communities (inter communal violence, casualties on both sides, arson, displacement of villagers, intervention by UN Peacekeeping Force – which became permanent). The Turkish Cypriot-controlled area was reduced to a few enclaves and Nicosia, the capital, was divided by a cease-fire line called the “Green Line”.

Turkish invasion 1974 (Source: www.greekreporter.com)

Greek colonels coup and Turkish counter-strike
1974 was the most momentous year of the Cyprus conflict. Athens’ military junta operating through a  paramilitary group overthrew the Cyprus government of Makarios and installed a ‘marionette’ government headed by an ex-EOKA leader and convicted murderer. The schemers’ purpose of the coup was to bring about the desired union with Greece. For Ankara though, it provided the opportunity (and pretext) it was waiting for…five days after the coup the Turkish military invaded Cyprus (Operation Atilla), the Greek coup collapsed and the Turkish invaders captured nearly 40% of the island. A cease-fire was negotiated but not before thousands of casualties and expulsions, particularly of Greek Cypriots from the north. Turkey set up a de facto Turkish entity in North Cyprus, which in 1983 was proclaimed to be the Turkish Republic of North Cyprus (TRNC). TRNC was recognised as a sovereign state only by the regime in Ankara, not by any other country.

Footnote: Megali idea
Enosis grew out the Megali Idea (“Great Idea”),  an aspirational irredentist concept that posits that all lost Greek territories will be liberated and united with Greece in the future. The Greek colonels launching their 1974 coup d’etat against the Makarios government echoed the concept in their declaration of “the Hellenic State of Cyprus”.

 See also the follow-up blog: ‘A Divided Cyprus: Sixty Years and No Resolution on the Horizon, Part II’

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⌖ formal annexation didn’t occur to 1914. In 1925 Cyprus was made a British crown colony

¤ an underlying grievance of Greek Cypriots in British Cyprus was what was effectively a system of double taxation. In addition to the standard taxation on many items, the communities had to contribute to Britain’s tribute payments to the Ottoman Empire in return for ‘leasing’ the island

✪ under British rule the two communities had been allowed to self- segregate, this led to an aggregation of “nationalistic fervour”, resulting in the development of Enosis and Taksim (‘Analyzing the proposed solutions to the Cyprus Dispute’, Oliver Hegglin, Human Security Centre, 13-Mar-2021, www.hscentre.org). See also Footnote above.

Labelled ‘Degenerate’: Nazi Germany’s War on Modern Art

Posted on by E Curb Nottus
Comparative politics, Popular Culture, Regional History, Society & Culture

In 1937 the Nazi regime organised two art exhibitions in Munich concurrently, separated only by a park and a few hundred metres. One was intended to hammer home to the German volk the inequity of the type of art that the führer Adolf Hitler found abhorrent, ie, anything in art that even hinted of modernity. The other representing all that Hitler found good in art was the complete antithesis of this – a paean to traditional, realistic painting and sculpture and art that conformed to classical themes and forms.

⇧ A Hitler, landscape (Source: Widewalls)

Hitler’s early experiences and his perceived emotional pattern suggest a motive of personal revenge contributing to the Nazis’ fanatical war on the modern and the avant-garde in art. As a young man Hitler dreamed of a career as an artist but a double rejection by the Vienna art academy saw those aspirations dashed. His paintings were summarily dismissed as passe by the art establishment in favour of abstract and modern styles (Burns), leaving the future Reich leader with a bitter aftertaste and a grudge①.

In Mein Kampf Hitler avers that “Cubism and Dadaism are symptoms of biological degradation threatening the German people”, Werckmeister, O. K. “Hitler the Artist.” Critical Inquiry, vol. 23, no. 2, 1997, pp. 270–297. JSTOR www.jstor.org/stable/1343984. Accessed 2 March 2021.

The purging of so-called “degenerate art”
The Degenerate Art Exhibition (Entartete Kunst) in 1937 was the culmination of a concerted campaign waged by the Nazis to root out all manifestations of avant-garde art in Germany. The first efforts by Hitler’s henchmen were a reaction to the preceding liberal and permissive Weimar era which had embraced the modern style in art and especially Expressionism. In 1933 the Nazis held their first art exhibit of the supposed “degenerate art” in Dresden. Allied to this, the systematic confiscation of modern artworks from museum across Germany took place. Hundreds of thousands of the plundered art pieces including works by modern masters were sold by the Third Reich (some of the proceeds were siphoned off into armament production)②. Much of the minor, less marketable art works were ultimately burnt.

⇧ Beckmann: ‘The Night’

The “wrong type” of art
Hitler rejected the avant-garde and modernity in part for aesthetic reasons. Hitler like many of his Nazi followers had an innate conservative aesthetic taste in art. Politics and ideology also played a part, the führer associated modernism with Jews and communism, and by extension, with democracy and pacifism. Jewish influences, Hitler held, had contaminated the classical art styles so beloved by him. At the same time he denounced what he called “cultural Bolshevism” for weakening German society. Modern art, the Nazis believed was an evil plot against the German people, a “dangerous lie” which would poison German minds. In chilling words given the Nazis’ later unbridled lethal use of eugenics Hitler stated that “anyone who paints a green sky and fields blue ought to be sterilised”.

⇧ Kokoschka: ’Portrait of a Degenerate Artist’

“Sick art” and culture as a propaganda tool
Hitler and the Nazis believed that art played a critical role in defining society’s values. Expressionism③ and the group Die Brücke (“The Bridge”) and artists like Oscar Kokoschka and Ernst Kirchner got singled out for extra repressive measures. The Nazis depicted avant-garde art as the lowest of the low—”impure and subversive”, it’s artists ‘diseased’ specimens corrupted by mental, physical and moral decay—conversely they elevated classical Greek and Roman art to a sublime place, the highest of cultural planes.

⇧ Hitler viewing the ‘Degenerates’

The Degenerate Art Exhibition
The Nazis’ 1937 exhibition was carefully stage-managed as a propaganda vehicle to mock and deride the modern art Hitler so detested. The exhibition comprised Expressionist, Dada, Cubism, Abstract (allocated its own room designated the “Insanity Room”) and New Objectivity artworks. Paintings were hung in a careless, haphazard fashion, with graffiti scrawled on the walls which defamed the artists. Actors were hired to prowl through the gallery loudly denouncing the “Modernist madness”. Adolf Ziegler, the Reich”s top arts bureaucrat and Hitler’s favourite artist, declared the displayed works “monstrosities of insanity, insolence, incompetence and degeneration”. And to ram home the degeneracy point, the vilified artworks were juxtaposed alongside paintings by the enfeebled and the disabled, by psychotic patients and the like. According to the Nazis, degenerate art was the product of Jews and Bolsheviks, but interestingly only six of the 112 artists whose work was displayed in the exhibition were Jewish. The 650 paintings, prints and sculptures included works by Grosz, Dix, Klee, Beckmann, Nolde, Chagall, Picasso, Wandinsky, Marc and Mondrian.

⇧ Führer taking in the “good art”

Exhalting in the “pure Aryan art”
To provide Germans with a favourable point of comparison, the Nazis simultaneously held the Great German Art Exhibition in the same Munich neighbourhood. This displayed ‘Ayran’ art➃, the type of art Hitler approved of. Often gargantuan in scale⑤ – statuesque blond nudes, idealised heroic and duty-bound soldiers and imagined pastorals and idyllic landscapes (reflecting Hitler’s predilection for realistic paintings of outdoor rustic settings). Characteristically the favoured Nazis’ male figures in art represented the concept of the Übermensch (an idealised ‘superman’). Hitler’s intention was that the Groß deutsche Kunstausstellung propaganda would help mobile the German people behind the Nazis’ values.

Footnote: The outcome of the dual 1937 exhibitions was not anticipated by Hitler and the Nazis: Entartete Kunst proved wildly popular, attracting more than two million visitors, whereas Groß Kunstausstellung only managed less than a third of this number. The “Degenerate Art” show was such a hit that it was toured on display throughout the German Reich after the Munich premiere closed.

☬ ☬ ☬

Postscript: German artists deemed ‘degenerate’ understandably were more at risk of persecution from the Nazis from those outside the country. Special attention was given to artists like George Grosz and Oscar Dix who were openly critical of the totalitarian regime. Grosz mocked Hitler on canvas while Dix earned the enmity of the Nazis for his excruciating depictions of the horrors of war. As one writer put it, “the Nazis labeled Dix a ‘degenerate,’ but the term is better applied to the society he depicted—cannibalizing itself and hurtling toward destruction” (Alina Cohen).

Dix’s ‘Seven Deadly Sins’ (1933)

•━ ━ ━ •━ ━ ━ •━ ━ •━ ━ ━ ━•

① Hitler’s own preference for subject matter as an artist was for painting buildings and largely unpopulated pastoral landscapes (the future “world leader” had no talent for capturing the human form)
② Hitler and the National-Socialists’ notion of modern art as being the product of entartung (degeneracy) can be traced to a Jewish Austro-Hungarian social critic Max Nordau who decried the new art and literature in 1890s Europe as being the work of diseased minds
③ the focus on Expressionism as a target for the Nazi “culture police” proved a particular problem for Joseph Goebbels. The propaganda minister had early on championed the Expressionist movement and had to backtrack swiftly on this to avoid the führer’s opprobrium
➃ Ayran art uniformly infuses a celebration of youth, optimism, power and eternal triumph
⑤ the Nazi taste for mega-scale art reached its apogee in architecture, massive structures like ‘Germania’. “Monumentality and solidity (exuding power), simplicity and timeless eternity” were the bywords of Nazi architecture

𓇬 𓇬 𓇬

Bibliography
‘Degenerate art: Why Hitler hated modernism’, (Lucy Burns), BBC News, 06-Nov-2013, www.bbc.com
‘Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937’, (Jason Farago), The Guardian, 13-Mar-2014, www.theguardian.com
‘Degenerate art’, Wikipedia, https://en.m.wikipedia.org
‘Nazi architecture’, Wikipedia, https://en.m.wikipedia.org
‘Why “Degenerate” Artist Otto Dix Was Accused of Plotting to Kill Hitler’, (Alina Cohen), Art Sy, 11-Feb-2019, www.artsy.net
‘Art as Propaganda: The Nazi Degenerate Art Exhibit’, Facing History and Ourselves, (Video, 2017)
‘Adolf Hitler’s war against modern art’, The Canvas, (Video, 2019)